Wednesday, April 29, 2009

Media Planning for Web Video: using GRPs? (From AdAge Digital)


Here's an attempt by Mindshare to create a comparable online metric to TV metrics: GRPs for Web video. It's not as easy as it seems, primarily because vs. TV, internet activity is user-driven, timing of which is not depended on placement schedules. Another difficulty is that at any time, the user can stop viewing of the video and shift to another webpage. 

Another problem is that such metrics are measurable only after campaign implementation. Not like TV that you can predict with a limited degree of error your GRPs when planning your campaign. Online, it's a matter of how engaging and how viral your material is. It's not about where you place your ad, but on how good your material is.

Case in point: the latest Camella Homes TV ad, "Sikip", (ad agency: Leo Burnett Manila) is enjoying some virality online. The best part was the first known post on YouTube was audience-generated, not by the agency nor the marketing team. It was never intended to be an online material, nor did Client spend a dime to put it online.

I appreciate the intent to try to find a common ground for advertisers to evaluate online efforts vs. traditional media but I doubt this direction will prove to be an accepted methodology for media planning and budget allocation. It will still require a certain amount of Client's faith in the material, and willingness to experiment and risk a portion of his marketing budget for digital efforts to flourish.

Below is the original post in AgAge Digital.

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Media Agency Looks to Spread TV Advertising Wealth to Online

NEW YORK (AdAge.com) -- Good news for online video: Mindshare, a unit of WPP's giant media buying operation GroupM, is embracing a new metric that could speed the migration of TV advertising dollars to the web.

Since YuMe specializes in placing video ads in premium video, including TV shows on the web, a GRP metric will allow an advertiser to buy both TV and online for the same campaign on the same standard.
Since YuMe specializes in placing video ads in premium video, including TV shows on the web, a GRP metric will allow an advertiser to buy both TV and online for the same campaign on the same standard.

The agency is throwing its weight behind a translation of TV's gross ratings point to online video developed with video ad network YuMe, meaning Mindshare clients such as Unilever and Ford will start buying online video on a gross-ratings-point basis, the same way they buy TV.

Agencies have for some time looked for a way to measure online video in terms of gross ratings points (GRPs), or the sum of the reach of a campaign times the frequency that the target audience was exposed to an ad.

Major TV marketers have bought TV campaigns on a GRP basis for decades as they buy vast swaths of the country in certain demographics, and have years of experience in using that data to evaluate what the return on a TV campaign will be, say, on the sale of tubes of toothpaste in stores.

Would seem simple enough 
On the face of it, converting online metrics such as "views" and "unique visitors" to a GRP, a measure of the reach and frequency of a campaign among U.S. households, would seem to be a fairly simple proposition.

But converting to a web audience, which is smaller and more splintered than TV, is difficult. A TV campaign, for example, would achieve a rating in one TV broadcast; online, the equivalent reach and frequency may be achieved over weeks or months.

Having an online equivalent -- an iGRP, if you will -- allows marketers to compare the effectiveness of TV and broadband on an apples-to-apples basis, and theoretically spread TV dollars online for the same campaign. Then, the buy becomes video wherever it happens to be, rather than just "online" or "TV."

YuMe isn't the only video ad network attempting to dip its toe into the $70 billion TV market by using TV metrics. In February, Tremor Media started reporting their own GRP equivalent for online video campaigns using ComScore demographic data, and BBE is working on its own GRP translation with Publicis Groupe unit Starcom Mediavest.

In embracing the new standard, Mindshare advertisers will have the option of buying web video on the same metric, and it's likely that Mindshare's sibling agencies within Group M, Mediaedge:cia, MediaCom and Maxus, will follow suit.

"As viewing online viewing continues to grow, we need to have a clear understanding with the partners we work with on how to evaluate frequency models on broadband vs. TV," said Cary Tilds, senior VP-digital strategy at Mindshare.

Since YuMe specializes in placing video ads in premium video, including TV shows on the web, a GRP metric will allow an advertiser to buy both TV and online for the same campaign on the same standard. An episode of "Heroes" on Monday night on NBC, for example, might have 7 million people watching and reach a certain percentage of viewers aged 18-49. An equivalent GRP could be achieved online but it might take buying audiences across many shows over time.

"We can now start to say, that the same million dollars you spent for the TV buy, you can have to run it for a month on these sites and you will get the equivalent," said YuMe President Jayant Kadambi.

Tuesday, April 28, 2009

Attention Web designers: Design experiences, not webpages


One of my biggest challenges right now is working with the concept teams in the agency. Designing for online is a very different discipline from designing for print. Even designing for TV is different because TV or video is still linear, whereas online design isn't. When I try to describe the process, I liken it to designing a choose-your-own-adventure book -- experiences branch out and interconnect in different ways; and you cater to different audiences and personas and try to give a relevant, personalized experience for each.

We have lots of good technical designers here in the country, and a lot with good aesthetic sense. But I still have to meet a web designer who I can say I'm impressed with. Maybe I haven't been around enough. Maybe designing a website takes more than one head. I believe a good web design comes from good collaboration among a collection of aesthetic, technical and stragetic heads.

Nico, our digital producer, has an interesting observation: usual advertising art directors find it easier to work with Flash since it offers a more flexible medium. Once you get into HTML web design, it gets more complicated because of all the limitations it puts on design. That's when good web designers really shine -- when an HTML-based design looks great yet works well and easy to use for visitors.

I found this material from an article by Alexander Wipf in Cultural Fuel.
He shares tips from Tim Richards of Razorfish on web design. Enjoy!

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Experience Design: Why Pages Are The Last Thing You Need To Worry About

View more presentations from Tim Richards.

Here’s a little talk I put together for a UX Meetup here in LA. It’s a bit of an amalgamation of emerging experience design tenets focusing on differences between page design and experience design. Probably not a giant eye-opener for folks that are currently engaged in Experience Design. I’ll offer up what I believe to be the missing subtext for the talk below - not a script; just some stuff that isn’t on the slides, to make it easier to understand.

Background
Originally, the context for this talk was an article I wrote for theFEED report, Razorfish’s Digital Design Outlook. The original title was “Putting Jakob on the Shelf.” Again, for experience designers, it seems like a pot-shot; most of us know Jakob Nielsen’s place in our pantheon of nerd-heroes. I guess the impetus came from quite a few client conversations that seemed to rush into page design as a primary vehicle for redesigning a web experience, to be specific.

Experiences, Not Pages
Pages are the old building blocks. We have square monitors, the Web was borne of hypertext documents, which are “shaped” like pages, pages date back to Egyptian papyrus, I suppose. Pages will probably be around for a while. With that in mind, when we design an experience, we design around the fulfillment of some human need. The truth of the matter is that these needs are very seldom solved via a “page”; folks are looking for fulfillment, conversation, connections, prices, comparisons, knowledge…that sort of thing. What I quickly narrow down to Answers and Entertainment is very seldom page-shaped - it’s smaller, and more fluid.

I think that search has contributed to our page focus - as last-click attribution has placed the almighty index on a pedestal. Image and video search are a step in the right direction, I guess…but, as we map real engagements, we know that actual behavior is quite messy. Impressions across channels build up to actions, interactions, engagement, purchase, loyalty, etc.

The last bit here, starting at Slide 16 and running through Slide 21, I guess, is a plea to all Product Managers, Marketing Folks, and other business stakeholders to start thinking about their products and projects in terms of experience and flow; narrative and interaction. As much as everyone seems to love to agree with me on this point of “Don’t Start Design with a Site Map” - I still see an awful lot of it out in the space. My only point here is that we should use scenarios, narrative, lo-fidelity UI, and map those to a system - and let an aggregation of narratives define the solution. A site map is representative of a design solution. It’s a handy design inventory. It’s not a starting point. In my mind, a lot of  the “good stuff” happens before we have a site map. Sure, designing the individual interfaces is fun, as well…but, the journeys and over-arching narratives are key to nail down before we do those interfaces. I think this goes for representative “comps” and “design directions” as a representative slice of the solution - let’s get better at designing experience concepts, as an industry; we don’t spend enough time there, I fear.

The backgrounds for these last slides of the section are scenarios and scenario maps - early site maps that evolve when we overlay several scenarios (scenarios are user segment + user need + narrative user story (of fulfillment/experience) + lo-fi UI’s.

Die, Enterprise, Die
I’ll come right out and let you know ahead of time that I think this next section is the least-baked. Sorry. It started out as an approach to Experience Design when there are already significant brand touchpoints out there - that by “Growing Organically,” we could meet emerging brand and user needs more quickly by bypassing the tendency to build every new experience in the context of the previous. That’s where that title on Slide 23 comes from, I guess. The cartoon map backgrounds were a deliverable for a big company who had hidden the most important content (according to their some-odd 16MM users) behind some impersonal promotions for prospective customers. These concept maps showed how hard it was to find the good stuff - and I even designed a peaceful town plaza/square to represent the suggested new design.

The next bit on Slide 24-25 are remnants of the first section, I guess - maybe it’s a recurring theme. The idea comes from  experiencing so many project kickoffs and requirements-gathering sessions where we were collecting “feature ideas” instead of user requirements. It’s not easy, managing the line between requirement and feature - but, I tell you, that line is representative of what I call “Design.” Slide 26 is a shout out to my man Saul Bass. I find it helpful to drop this quote from time to time to define and redefine our activities as Design, even if we’re working at a whiteboard, and not Photoshop.

The next little area may be a bit outdated - as I’ve seen so many integrated Creative/User Experience teams as of late. However, in shops where UX is highly-evolved (or devolved?) a divide sometimes grew between Creative and User Experience. My view on the division is best expressed in “Making is Thinking” recent post, “Logic Occludes Intuition.” Basically, it’s easy to slip into a solely performance-based innovation model as a User Experience Designer - trying to “prove” our way to an innovative solution.

Slides 27-34 explore some of the differences between the UX and Creative roles (even if they’re occurring in the same person) - and tries to make it OK for UX and Creative to be out of sync for periods of time, while concept catches up with insight, and such. Also, there’s a slide of a blue frisbee where I make a joke about Tron. Hopefully, you’ll get that joke.

Design Inside Out + Outside In
OK. Yes. I talk about Semantic here. Jumping the shark? Maybe. But, as the Experience Design field advances, and we learn how to measure and discuss the differences between bad experience and good experience across channels, we’re going to need to understand how Ontology Design should affect the design process. With so many experiences leaning so heavily upon good aggregation techniques, landing pages, and contextual navigation, we’ll do well as designers to know that we’ve got to be able to design very fluid experiences that allow people to move laterally (with context, as opposed to vertically “down” in an information experience) in an experience, in units that are smaller than “pages.” Slide 41 is usually when I like to drop a trip through Spock, looking for my favorite Daler Mehndi video, “Tunak” to show how Semantic Tech will change the world - and to show how rad the Tunak video is.

Slide 45 basically disallows Experience Designers from straying too far away from practical design, diving so deeply into ontology structures that they forget the “containers” for the experience; pages, modules, templates, screens, messages, videos, etc. The background for this slide and the previous were sketched by Darren Wong, a very talented experience designer in LA. I like the “Context and Container” thing quite a bit - I’ll dive more deeply into that in a subsequent installment, I am sure.

So, as I just returned from Memphis and the IA Summit 09, I reflected on this talk that I had put together - and I feel a kinship with Jesse James Garrett, who delivered the final plenary talk on Sunday, when he shouted us out - to rise, and be Information Architects no more - but, to be User Experience Designers (among other great things he said.) Yes, we perform information architecture. No, it’s not all we do. Should it be our job title? Nope. But, that’s just me.

Now that you’ve received the fullness of my approach to handling emerging challenges in User Experience Design, you are also relegated to go forth, and do good; design great experiences via storytelling, and not just information science. How’s that feel?


Friday, April 24, 2009

Similar Images: Search Beyond Keywords (From AdAge Digital)

What if you could use Google search to find a crime suspect by using a composite drawing created from witness accounts? What if you can find using Google the artist or photographer of a beautiful picture you got from somewhere? What if you can easily check online on Google if your copywrited photo or logo is being used elsewhere on the Web? 

Today, you can't quite yet. But maybe soon. Google is starting to go beyond keywords to do search. The article below describes Similar Images, a developmental feature of Google search that uses image-recognition technology to refine searches. It doesn't elminate yet the need for the right keywords but it's a good start. Imagine when you didnt need to have a good handle on language (and keywords) to find what you were looking for online. How will search optimization be done when that happens?


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How to Search Without Words

Google's Newest Tool Shows Search Still Evolving

Hashem Bajwa
Hashem Bajwa

Google Labs this week launched a new product called
Similar Images, which allows users to search for images using others images instead of words. Until now searching for images with Google meant using text entered into a search bar to describe things, the results of which are only as descriptive as the words entered into the query and the words found on the page where the image is indexed by Google.

Google Similar Images changes that. With this feature, after entering in what one is looking for, the results all have a link below them that will find other images like that one. It uses image recognition technology to read the image and match it to others.

Another example of this is TinEye, a search engine that lets you upload your own image and then it matches it to other images on the web including ones that have been highly distorted or edited.

An important thing about both examples is that search is still evolving and even with Google's dominance there are new innovations to come. It also shows image recognition can be used accurately on a large scale when combined with search.

Here's an example of Google Similar Images at work:


When searching for "paris" one will get results for everything from the Eiffel Tower to Paris Hilton. After clicking the "Similar Images" link underneath one of those image results it will refine the results to just images that match that one specifically. Google Images also has a feature that will then display those photos according to whatever color is chosen.

~~~
Hashem Bajwa is digital strategy director at Goodby, Silverstein & Partners in San Francisco. He also writes the
Brain Sells Blog.

Wednesday, April 22, 2009

Copywriting for the Web: Move Over Ad copywriter!

One of the things I'm tasked to do in the agency is to help steer our creative teams in doing digital work. Not easy. One of the hardest is educating creatives. I'm still seen as a "suit" in the agency and helping creatives do better work usually does not sit with some of them. Not all, but some.

Digital copywriting is a lot about SEO, as much as it is communicating to your desired audience. And it's definitely different from ad copywriting. It's an uphill climb. And I'm still waiting for someone to own this skill in the agency. Crossing my fingers.

Here's a good list of tips for copywriters. Original article post from toprankblog.com by Mike Yanke here.


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SEO Copywriting: Lure The ‘Bots - Don’t Become One

17 Comments | Posted by Mike Yanke on Mar 27th, 2009 in Online MarketingSEOSEO Tips
bladerunner2discdvd

Harrison Ford may have been a robot. SEO copywriters are not.

Copywriting, and all of marketing really, represent that beautiful intersection between business and creativity.  Those of us lucky enough to find our way into this niche find that, amazingly, we can actually make a living being creative.

Granted, the work we create may not always grab the attention of our hipster friends, but it will put food on our clients’ tables (most important), put food on our own tables (second most important), and put food on our aforementioned hipster friends’ tables (if they’re lucky).

Perhaps the biggest mistake we can make as copywriters when we find ourselves writing specifically for a search engine optimization initiative is becoming untrue to our own creative personalities.

Being a copywriter means adapting your voice to become the voice of your target audience, whether that means writing like an accountant, a technology provider, or even a business analyst.  When writing content for SEO, you add the additional layer of complexity of expanding your audience to include the search engine ‘bots.

This can frustrate the creative ogre that lies within us on a few levels:

  • We work in marketing – the greatest industry forever and ever.
    Why can’t everyone, including the ‘bots, just speak like we do?
  • Writing for robots is making us feel like robots, with the rules and what not.
    We’re not robots – we’re writers!

These may seem like good points when echoed in our own heads, but truly, they are misguided.  SEO copywriting when done correctly - is an enhancement to our creativity - not a limiter.

Take the creative approach towards the following SEO guidelines:

  • Title tags must include the most important keyword related to the page
    This is great!  Think of it this way – if a title tag is limited to 10 words, and you are working with a keyword like “Accounting Software” you’re 1/5th of the way done!  Add in the client name, and you’re 1/3rd of the way there.

    Now, you just need those seven final words to make this a compelling bit of copy – compelling enough to get your target to click through.

    Finding the right creative mix of seven words is a challenge that should be received as a gift by any skilled writer.  Remember, Hemingway only needed six.

  • Keywords must appear up and to the left
    How dare someone tell you what words should go where, right?

    Granted, the reasoning for keyword placement can feel robotic – after all – the search engine ‘bots scan for keywords that appear up and to the left.

    Want to know a secret, though?  So does everyone in the entire world who ever lived and took the time to learn how to read and scan something for their name.  (Note From Editor Dana Larson:  Except in certain cultures where they write right-to-left, not left-to-right…something to think about, Mike :) ) People are notorious scanners.  Humans created the ‘bots to take after their masters, and their masters do not have time to read anything unless hooked by a strong opening, ie, some compelling bit of copy they’ve spied “up and to the left.”

  • The same keyword(s) must be used so many times
    This is an easy one.  You only have to use a keyword as much as it makes sense to use it.  Typically, 3-4 instances on webpage will suffice, although you could potentially include it more if in reference to a branded company or product name.

    Remember – we’re writing for humans, here.  Use your keyword just enough that a human will know what it is you are talking about.  The ‘bots we create will follow-suit.

  • Internal links should be implemented within your web copy
    Gee whiz, I just wrote all this great stuff and now I have to worry about linking it to something else?  Think of it this way.  Some of the best jokes told by stand-ups comedians reference another joke recently told.  For the uninitiated, this is a “callback” – and it helps add a new level of fullness to the bit.

    Links in your copy are the same idea.  By linking to additional, relatable contentyour copy expands to feel fuller with very little extra effort on your part.

The best thing about taking a creative angle when approaching the rules of SEO copywriting?

Ensuring a successful website for your client (most important) and gaining recognition as a skilled and creative copywriter (a close second).

Friday, April 17, 2009

From Inside Facebook: A True First with Facebook Connect and YouTube!!

YouTube seems to be making headway. First, with flexibility of their branded pages, as can also be seen with the Symphony example I just shared in my previous post. Then, this development with Facebook Connect as Inside Facebook article I'm posting below. YouTube is going beyond their purpose of being just the premier video sharing site, not by pretending to be another separate social network, but by acknowledging the position of Facebook as THE social network.

The two most interesting things about this example:
1. The mashup happens in the YouTube environment, not in Facebook.
2. The evolvement of the YouTube environment into a microsite/blog-like interface.

But, unless I'm humbly mistaken, this was made possible with a direct contract with YouTube. Imagine if YouTube provided blog-like design flexibility to users. Imagine the possibilities. 



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In what is the first Facebook Connect integration we’ve seen on YouTube (or any other Google-owned property for that matter), Coca-Cola Europe just recently launched a new “social interactive music show” called Green Eyed World. Interestingly, YouTube has significantly demoted the placement of the the standard comments module and replaced it with a very prominent Facebook Connect integration.

The show is about a 23 year old singer from London who is selected to go to New York City to pursue her dreams of becoming a music star. Once users log in through Facebook Connect, they can leave comments and votes to influence her decisions, and see a stream of their friends’ comments and votes as well.

greeneyedconnect3

“This interaction between YouTube and Facebook is the first of its kind,” Google’s Benjamin Faes, Head of YouTube & Display for Europe, Middle East and Africa, said in a release. “We are creating a new technology implementation with these platforms. At any time during Green Eyed World, viewers can comment or vote, creating a live dialogue between themselves, their friends and the hero. The video pauses, and a small window pops up where the interaction can take place quickly and easily”

As we’ve documented before, content producers are finding that Facebook Connect can increase the authenticity of user comments and community. Users logging in with their real identities are less likely to leave lower quality comments as commonly happens on YouTube, which is especially valuable in the case of branded content.

In addition, Facebook Connect’s ability to share content back into users’ profiles and their friends’ news feeds can be a powerful driver of traffic. Facebook sent more traffic to Perez Hilton than Google did in January, and video sites are currently some of the most popular Facebook Connect integrations.

Despite the fact that Google founded the OpenSocial movement and is building its own competing product in Google Friend Connect, YouTube opened up and partnered with Facebook for the Coke integration. While the companies still have some unresolved questions about the way Google Friend Connect itself works with Facebook, the presence of Facebook Connect on YouTube is part of a bigger initiative on YouTube’s part to be more flexible with content partners and brands, and is a good sign for Facebook Connect.

As Liz Gannes over at NewTeeVee writes, “YouTube is showing increasing flexibility about what partners and sponsors can do on its pages, allowing CBS and ESPN to embed their video players of choice on its pages. Enabling Facebook Connect more broadly could be a very effective and appealing next step.”

Green Eyed World is directed by Tony Valenzuela, who previously worked on “America’s Next Top Model,” “CSI: Miami,” and “The Closer.” It is being produced by Austria-based FFP.

Mashup Wonder: YouTube Symphony


A wonderful example of video mashup. Thanks, Pao, for sharing this.


Tuesday, April 14, 2009

From AdAge Digital: Google vs. Ad Agencies


Looking at the future of advertising in the digital world, one would start thinking: What will be the role of ad agencies then? Why will advertisers contract the services of the ad agency when Google seems to be providing a lot of these services for free?

Google and leaders of the online space are starting to commoditize marketing communications delivery to consumers: Anyone willing to learn how to use the appropriate service can create marketing communications and serve it up on websites. Anyone can create a Facebook page for a brand and fill it with content. And ideas, more than ever, are not owned by ad agencies especially in this age of co-creation and integrated marketing communication where ideas are passed across consumers, marketers, agencies, and everyone else.

And advertisers are starting to refuse to pay for ideas. They only want to pay for work that they feel they cannot do themselves. Even if they wouldn't have been able to do it themselves, either because they really don't know how to do it well, or they really don't have the time, hands or feet to accomplish it.

But enough on griping about this reality. The onus is for ad agencies to evolve. We need to change business models. We need to challenge what value we bring to our clients' businesses. We need to find our new unique role in this digital world.

I don't have all the answers, but I'm constantly working on finding some answers. Maybe Google has at least some of them, as this interview from AdAge Digital with Jeff Jarvis, author of new book, "What Would Google Do?"


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How Google is Changing Advertising Agencies

Jeff Jarvis Suggests Asking "What Would Google Do?"

In just a little over 10 years, Google has built a business that is impossible not to admire. In fact, its success begs the question -- what would Google do (WWGD)?

Jeff Jarvis
Jeff Jarvis

Media pundit and thinker Jeff Jarvis tackles this question head on with a new book by the same title. In "What Would Google Do?," Jarvis breaks down Google's practices into 12 distinct rules and then applies them to aging industries like media and advertising.

I interviewed Jeff by email on Google's model to get his thoughts.

Steve Rubel: Since you titled the book with a provocative question, I will start the same way. If Google were an ad agency, What Would Google Do? How would they run it?

Jeff Jarvis: I'd say we already know: Google is a new form of agency-as-platform.

As Publicis' Rishad Tobaccowala pointed out in my book, Google served an entirely new population of advertisers who didn't have agencies and that enabled it to set new rules. Google sells performance instead of scarcity (a lesson the rest of media must learn in this post-scarcity economy). Because it rewards relevance, it encourages better, more effective advertising.

Through search, Google enables any brand to speak with customers without advertising. Google still does business with the agencies, of course, because they hold the checkbook -- and that is delaying the tectonic change that will come to advertising as it has to music, newspapers, TV, and radio. It's coming.

Mr. Rubel: A book, however, is very un-Google, as you noted in several places throughout. It's ranking well on Amazon. How did you apply the lessons in WWGD to the way you wrote/marketed the book and what can digital marketers learn from your experience?

Mr. Jarvis: As I write this, the book is up in the 500 range (on Amazon) and, of course, I hope this Ad Age coverage gets it back up to at least 100!

I do confess that in seeking this old-media attention and in publishing an old-media book -- instead of just putting it all online, where it would be searchable, linkable, correctable -- I am a hypocrite. I did not eat my own dog food. Why? Because the book industry still works well enough to pay me an advance. Dog's gotta eat, you know.

My publisher, HarperCollins, is trying many new things. They had me produce a 23-minute, sitcom-length video version of the book. We put full text of the book online (in a widget that that Google can't search). I shared 30 days worth of excerpts on my blog. Most important, the book began on my blog a few years before it was published -- as I explored ideas there and got help, even an entire chapter, from my readers -- and the discussion continues there and in Twitter now (I love seeing readers tweet their reviews and quotes).

Mr. Rubel: In the book you stress Google's relentless focus on the consumer. And you wonder whether focusing on the consumer over the client makes more sense. Isn't this what ad agencies already do? And if not, what needs to change?

Mr. Jarvis: In the book, I quote an Australian ad exec saying that agencies should pay attention to clients instead of consumers. Then I quote the ever-quotable Toboccawala saying that agencies should focus instead on their customers' customers. I'd vote for the latter. The real question is whether agencies -- ad or PR -- can truly act as consumers' advocates. If a company has great customer service, do customers need advocates?

Mr. Rubel: Are customer service and peer-to-peer advocacy the new advertising? And if so, how does that change the ad industry?

Mr. Jarvis: Advertising is failure.

If you have a great product or service customers sell for you and a great relationship with those customers, you don't need to advertise.

OK, that's going too far. There is still a need to advertise -- because customers don't know about your product or a change in it or because, in the case of Apple, you want to add a gloss to the product and its customers. But in the book, I suggest that marketers should imagine stopping all advertising and then ask where they would spend their first dollar.

In an age when competition and pricing are opened up online and when your product is your ad, you need to spend your first dollar on the quality of your product or service. If you're Zappos, you spend the next dollar on customer service and call that marketing. If the next dollar goes to advertising, there has to be a reason -- and if the product is good enough, that reason may fade away.

Mr. Rubel: You also talk a lot about transparency. Google, however, isn't the most transparent company. What does the ad industry need to change here?

Mr. Jarvis: Google is not perfect. It expects us all to be transparent -- so we can be found in search, so we can benefit from our Googlejuice. But Google is not sufficiently transparent about its ad splits or its Google News sources. So, as our parents would say, this may be a case of doing what Google says more than what it does.

Online, it only makes sense to be as open as possible, to have answers to every possible customer question online, to join in conversations with customers as people rather than institutions. Transparency leads to trust. Transparency is just good business.

Mr. Rubel: How does WWGD apply to b-to-b marketing?

Mr. Jarvis: Customers are customers, communities are communities. In the mass of niches, there's nothing to stop every community -- moms or plumbers or chemical engineers -- from joining together online and sharing their knowledge and interests. See the success of blogs such as TechCrunch and PaidContent with targeted B-to-B content, advertising, job boards, and events. In the highly specialized world of online media, B-to-B represents a big opportunity.

Mr. Rubel: If Google were a Super Bowl ad, what would it look like?

Mr. Jarvis: It wouldn't. Google does not treat us as a mass. And it has better ways to spend its money.

Mr. Rubel: Can advertising become a platform?

Mr. Jarvis: In a sense, Google is that. It provides the means for anyone to reach anyone, whether through ads or through their own sites and conversation. This, I believe, is Google's greatest lesson for media, advertising, marketers, as well as government: provide a platform for your customers and communities to succeed and you, too, will succeed.

Is that advertising? Well, if we redefine advertising, it might be. Most every company and brand can become platforms for their customers and except for the means to accomplish that, there's nothing new in this. A great company always helps its customers do what they want to do. That's a platform.

Mr. Rubel: What parts of the advertising assembly line (e.g. research, creative, media buying, PR, direct, digital, etc.) has the greatest risk of getting Googled or the greatest opportunity to become Googled -- and why?

Mr. Jarvis: Everything is changed by the Internet, and not just by Google, of course: We have more means to learn more about customers today than focus groups or certainly panels, ratings, and samples ever told us.

Customers make the best creative when and if they recommend and talk about products. Media buying, I believe, will morph into network creation; in a mass of niches, there's opportunity in curating those niches to create critical mass and that work is being done today not so much by agencies but by technology, media, and network companies. PR becomes everyone's business in a company, which must have direct relationships with the public, person-to-person. Direct? The Internet is direct and we're still not done with the argument over whether it is anything more.

Everything in marketing is changed.

Mr. Rubel: Finally, in the book you wrote that "The agency and the advertising need to get out of the way in the relationship between customers and companies." This seems like it's an endorsement for public relations -- if it's done in such a manner. Yet, you are sour on PR and lump its future as questionable with the legal profession. Why? And what needs to change?

Mr. Jarvis: Though they can and certainly do use the Internet to improve their businesses, PR and law can't take on all the attributes of the open age because they serve clients and thus can't be transparent or consistent. The true test of a firm's willingness to prove me wrong would be firing a client that doesn't act Googley. I don't see that happening often.

Having said that, I know what you're fishing for here: If -- in my radical oversimplification -- advertising is failure and relationships are everything, is PR in a better position strategically than advertising?

Well, maybe, but there is this: A company and its employees must cultivate direct relationships with customers and communities without middlemen. So what is the role of the PR agency? It can advise and goad a company to build those relationships. But then, like a good consultant, it needs to get out of the way, to leave. I doubt we'll see that, either. The economics of agencies are built on getting clients to spend more, of course. So the real question is whether new economic models can support both agencies and Googlethink.

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